Sunday, May 25, 2014

The Art of Kata Beyond Technique

Looking at where you have been is important in understanding where you mightt go. This piece from 2002 captures a lot of where I see our studies going. Some things have evolved but much is still appropriate. And some things are left unsaid and unwritten.





Sometime I wander into interesting conversations on the internet.  Among the most passionate are those decrying the value of kata training in the martial arts. The lines of disavowal proclaim:

1)      Only actual fighting really matters,
2)      Today’s attackers are too sophisticated for the techniques of kata (which are centuries old) to actually work. Nobody attacks that way anymore,
3)      Being worthless except for exercise only a few kata are needed for that anyway,
4)      If kata are needed, only a few are needed anyway, after all how can anybody Master more than that anyway.
5)      And so forth……until the inevitable “Cause Bruce Lee said so!”…..

Its interesting how people pick and choose their ‘justification du jour’ to make their case.

A great deal has been written regarding the fringes of kata, what’s right, what’s wrong, how much is or isn’t taught. Then as I review my library and research notes, I find that very little substantively has been written about kata in Okinawan Karate. 

I don’t mean he description of forms, such as in “move here, block there, punch and strike after this”. Rudimentary movement descriptions abound, supplementing an instructors efforts, and occasionally providing inspiration for somebody to try and capture the form described on their own efforts.

Likewise I wasn’t referring to the cataloging of who studied what kata, of which various records abound.

What I see as missing is an inquiry into the depth of kata training.

 My perception on Kata’s Okinawan Genesis

I believe there are several reasons why the long term role of kata has not been discussed in depth, openly. First among them being the fact that Karate developed in a culture choosing a non-literate method of transmission.  Historically this was done by direct physical instruction and accompanying oral transmission of the arts. There is nothing to suggest that an instructor felt there was any additional value by having a student read accompanying material.

When the first ‘Karate’ texts did appear in the 1920’s and 1930’s my opinion was they were geared as much to be a justification of karate’s nature for the Japanese Martial society, as for a basic reference for students. They were more basic how to texts, with in-depth instruction to be provided under the direction of the senior instructors (the old fashioned way).

I don’t believe things (prior to WWII) changed a great deal on Okinawa, with the Seniors remaining in charge until the next generation took over in the passing of time. On the other hand, in Japan, looking from a distance, instructors seemed to spring up with scant years of training, new styles sprang into existence and the nature of kata in training began to deviate from the Okinawan origins.

I’m not referring to the ‘changes’ which took place in kata, stance, etc., IMO, that is Karate’s nature, to flow through the human culture, but a shift in Kata’ emphasis took place, it wasn’t the springboard for application, instead sport became the driving force for execution. And/or Karate without sport and without application, an even different creation from the Okinawan origins.

It would be presumptuous for me to believe I fully understand the changes which took place. Most of my knowledge came from my reading, and I’m very aware how faulty the scholarship in martial matters has been in too many texts.

Instead I would offer my personal view on the place of kata in lifelong training, the myriads of opportunities which present themselves (more than any of us can fully attempt) and offer this as a trade off against various martial trends of which I am aware.


      On The Historical Relationship of Kata to Training

Collectively the Okinawan systems of training which are classified under the label ‘Karate’ retained the study of kata as their primary core.  In plain speech, if they didn’t study and practice Kata they weren’t doing Karate.  In that sense, Karate and the study of Kata become synonymous.

At a very high level of abstraction, the Okinawan stylist admitted to training in basics, and studying kata, and involving decades of study in that vein. With so much of the history of a Karate lineage passing orally, we have no simple recourse to believe otherwise.

The Karate historians who try to pin down kata’s sources find many contradictions in most of the stories, such as Kata which were believed to be imported from China in the late 1800’s, were actually publicly performed (and documented) in the mid 1800’s.

It is exceptionally difficult to know who taught whom what in those classical (pre 1900) days. On the other hand, should one find reference to ‘Many instructors knew only one or two forms’ many are willing to take such simple words as justification that only the bare minimum of forms are necessary for karate.  So un-creditable words by unknown sources are sufficient justification for present decisions?  [Too often an example how people pick and choose material to justify their answers.] Whereas if one’s instructor only did teach one , one or two forms, then it is an accurate transmission from Senior to Junior.  But one really has to work to find a contemporary Okinawan system that does so. [With no slight to the Ueichi group schools, who actually came from a tradition of 3 (and then often became 8) kata. But then I’ve not found the Ueichi system disbelieving kata’s purpose or existence either.]

Among the ‘evidence’ we have is that of Funakoshi Ginchin, who wrote he spent his first 10 years studying the three Nihanchi Kata, a long time later, he took an official syllabus of 19 kata to Japan and documented them as his system. But his students studied other kata (from other instructors)  and eventually many made their way into many Funakoshi derived groups.

With such surprisingly little documented Kata history, we can safely make some wide understanding how kata was used.

One with only oral and direct transmission of kata from instructor to student, and no outside template to compare against, an instructor could view kata as fluid as he wished, keeping it unchanged, or modifying it as often as he felt necessary. [My use of he isn’t an attempt to fight politically correct speech, but rather a reality check as in those past years, it was the men who were the instructors. 

Today things are quite different, but it doesn’t change the past either.]  It is only when books and movies became available that comparison (time binding) was directly a possibility, and not necessarily the best one.

Without the bother of worrying about a ‘template’ the instructor could focus on structuring the students use of form (kata) as directly as possible to their individual needs. In those days the purpose of an instructor wasn’t to keep a large bunch of students correctly lined up in practice. Learning one kata for three years, meant three years of one to one, constant instruction, shaping the student toward their maximum, not the outline of a template.

Application wasn’t the primary purpose of training. Perhaps a range of simple responses were taught to the newer students, after all no instructor wants ones students to loose a fight, but as Okinawa really wasn’t a terribly violent place, the purpose of training wasn’t to try and turn out an instant warrior either.

Kata were recognized as the source of martial knowledge, but as it is really difficult to teach one to actually use the depths of kata’s potential, I honestly believe that mostly basic applications were taught (when a new move was shown) and those basic applications formed the basis of a students abilities until they developed a consistently high level of kata technique.  Once that occurred (maybe 2 or 3 decades into training) where the student actually performed a technique correctly, then would the other potential be addressed.

I believe this was based on realistic assessment of advanced skills. You can teach a technique to anybody, very quickly, but if they don’t have the ability to sell the technique correctly they can’t use it for defense. And if they really can’t use it why waste their time.

I believe this is the underlying principle why sport kumite didn’t develop out of Okinawan Karate. Having students try to fight with little technical ability, leads to developing only a portion of martial skill, and there are other tools to hone those abilities. On the other hand taking the time to develop higher skill, the student has less need to contest because their skill training has become so consuming.

The record would seem to indicate instructors taught out what they knew, and if the opportunity arose to learn more, most often they seem to have taken it. Individuals like Mabuni and Taira appear to have taken it to its further heights in Karate’s Traditional period (1900 to 1950), by infusing large number of kata from many sources into their teachings. They had the opportunity and took advantage of it.

With even these few examples it is easy to see there is a wide range of practices on can pick and choose to be the ‘Example’ to follow.  But enough of Historical Musing. As my argument needs I’ll return to these examples and others. Instead let’s move onto Kata as a Life Long Potential


KATA – The Life Long Potential


Before I begin to delve into kata practices, I feel I should define my understanding of ‘KATA’.

Kata, or Form, is the rock pattern on which Okinawan Karate is built. It is a tool to help shape the new karate-ka’s abilities. It may be one technique or it may be a sequence of techniques that shape the martial potential of movement. It is a goal of focusing your energies to totally involve every aspect of your existence in practice. It is the opening movement of taking those techniques and gaining skill in combat, and it also represents a glimpse into the infinite potential of every aspect of Karate’s capabilities.

It is not meant to represent a mindless, repetition of technique to drive automatic response into a nervous system. It is not meant to be a group drill solely to hide behind ‘good’ group performance. It is not a thing to be mastered, as in perfected. It is not a restriction of what can be done.

It is a goal to stride towards, infinite in its potential. We continue to grow, change and age, and as our technique matures we continue to use our study of kata to find new growth.

The fullest study of kata involves much more than the kata itself, it involves actually learning and applying the movement against structured attacks and moving to applying the same techniques against random, spontaneous attacks.

It represents an unlimited wealth of opportunity in application, and the utter surety that dwelling too deeply in that depth of knowledge can yield absolutely nothing at the same time. While that may sound absurd, it really isn’t. Against an unlimited amount of movement potential, any system takes a piece of that potential as its bedrock. 

The goal isn’t being able to reach infinity, but to know how to use what you possess and make it work.

A life time of study yields but a scratch on the surface of technique and knowledge.  Against such weighty words let me try to bring my thoughts to life.

First, let us recognize that vastly different potentials of kata are best used at different levels. That which is appropriate for the novice, is not the same which is appropriate to the advanced beginner approaching ShoDan. That which is appropriate for one gearing for combat, is entirely different from the mature karateka with say 30 years under the belt. And the Senior Researcher or Senior Instructor have entirely different aspects to consider.

It is necessary to understand how the tool kata is being used to make sure it is being used wisely.



Brief Description of Stages


It is necessary to define a few concepts here. Specifically I’ll be  addressing  the role of kata for the Novice Student, the Intermediate Student, the Advanced Student, and for the Seniors (Instructors and Senior Researches into the Art). 

This has nothing to do with the age of the student, I don’t different in course content for youth or adults (though I most certainly pay attention to their differing abilities).

By Novice I mean the greenest student from the beginning up to about Brown Belt.

By Intermediate I mean the time from Brown Belt to about 2nd Black Belt.

By Advanced Student I mean the Black Belt 2nd and up, focusing on their personal karate development.

By Seniors I’m referring to the needs for Instructors (minimum of 15 to 20 years of study) and other Senior Researchers focusing on larger development needs of the art than their own potential.

           Kata Studies for the Novice

Regardless of whether the system teaches 3 kata, 8 kata, 20 kata or 50 kata, every path starts with the beginner.  There are numerous approaches that I’ve seen used to introduce people to the study of kata. I’d prefer to characterize them into two rough categories (with many layers in-between).

The one approach is to start small, and work the student to trying to perfect each movement before progressing onto the next one. In this approach every small detail is stressed from the beginning and the student is focused on approaching perfection in movement, ASAP.

The other side of instruction is to start large and work small. Permitting far less than performance in the beginning, and once the student learns the roughest shape of the form, continue to refine their movements as their physical and mental potential advances. This approach is what I use and am an advocate for.

In part, from the earliest Kata, one step and a block or strike, on to combination movements and finally to kata study I have not seen either approach turn out instant perfection. If you take a period of time such as 10 years, you will find both systems are adequate at turning out technicians. But it is my contention that accepting far less than perfect performance from the beginning, and patiently guiding the student’s development over the years allows the student to more naturally enter the shape of the kata.

Any kata can be taught in scant hours, and if the student has the focus of mind, they can remember it and continue its practice immediately. Does that mean they have an advanced understanding behind the movement, no!  That isn’t the intent.  Advanced skill allowing one to focus every aspect of their body in union, the real direction behind kata study, has no short cuts. By having them learn the pattern (embusen) early and not focusing on all the incorrect details, as you clean them up, one by one, you’re also cleaning up future kata studies before they begin.  The student has the advantage of feeling the accomplishment of acquiring the shell knowledge, and if they’ve been shown how far their studies have to go, it can help them focus towards the ever growing goals.

Now I take some guidance from my instructors, some from what I understand happened in Okinawa in the past, and no small part from my own study and my working with my students.

The goal of pure kata practice is control, working on greater control in stances, technique execution, body movement, etc. My approach, once the student grasps the larger execution begins to whittle away at their technique. Correct the flaws, a few at a time, and as they improve, continue to always pick the largest one to correct.  With the passage of time they learn how this movement becomes more concise.

Most of this simply cannot be described in words, which would be too extensive for anyone to bridge. It must be shared directly, a position here, a demonstration there, a word to help their focus.  The goals involved do not lend themselves to large group instruction, direct feedback and constant vigilance are required by the instructor.

Now here is where I am at variance with much of the modern traditions I see arising.  One the most senior instructors aren’t working with the beginners.  Then too many students forces too many missed opportunities to make immediate personal corrections. In the best circumstances, instead of direct feedback, group feedback is enforced and the goal becomes matching group performance.

Group practice isn’t bad at advanced levels, nor is it bad a beginning levels, where you’re simply trying to get across the large detail of the form, or even as special training devices, but for the rest of the time, I believe it is contrary to the real art in kata. When the sole goal for the individual is to hide in the group and move as one community, sharp group performance still leaves the true nature of kata behind. 

The one exception I make to this for my novices is class group practice of kata Fukyugata Sho.  I find their quickly learning the kata, and being able to perform it with the advanced students gives them great pride. Likewise the advanced students make excellent role models, as well as using their high level of execution to pull the lower students up to their level. The simplicity of the kata allows true group instruction on the smallest details. The complexity of the kata, pushes the novices to move into higher levels of ability. If you find a mistake in the Brown Belt performance and correct it you’ll see it flow to the rest, down to the newest, too.  But the more advanced kata in novice levels find group practice often a hindrance to advanced skill acquisition.

In executing form, the goal is to learn how to keep every aspect of your body motion alive. Even as simple a concept of tightening the chambered fist at the moment of the other fists impact contributes to the unison of body technique to the maximum. This requires constant monitoring to fight errors when they creep in (and they do), and forces the instructor to drive the student to develop their most personal explosive timing in their technique execution.

It is this development which bridges kata practice and application.  On the whole much of this becomes the foundation of advanced practice. I sometimes feel some instructors find most students are throw-away’s, income to drive the school, and such details may be left to those who last time out and continue training. I take umbrage with that concept. Every student deserves full instruction, in some cases this will drive the less interested away faster, in some cases it will help those with potential to advanced faster, but it also can be a positive to the new student to understand they’re receiving the bedrock foundation of advanced training. This can give some reason to continue training too.

                           TEACHING the NOVICE KATA

I prefer to take new students on as small groups (5 or 6), and they begin their earliest instruction in group, learning move by move (one or two at a time) the large movements of kata (sometime within one or two classes).  But once they’ve gotten through the first kata, the training group often becomes smaller and smaller, as they learn at different rates, until they are learning at their own pace, one to one and not as a group.

To spatially aid the student understand where to place their limbs, or to shift their bodies, etc.  I explain the movement against a standard attack. More times than not, the illustrations are definitely unworkable as shown. But I clearly make the students understand this is the case. That I’m building their movement skill, and the attack I’m showing as the kata countering, isn’t necessarily a real attack.

Now some don’t agree with this answer, for only works every time all the time is correct for ‘real combat’.
On the other hand I’m not convincing the novice they have skills they don’t possess.  And even if the applications I’m showing to assist them aren’t the way I’d expect them to use it within a few years, that doesn’t mean they can’t develop the skill to sell it exactly as shown.

I’ve never met any body who couldn’t be show kata nor perform it. I just takes unending patience with some as they teach it to themselves. That is the most important thing to understand. You can’t teach them, it really doesn’t work that way. Instead they teach themselves, using your example, your words, and most likely the students just ahead of them in the program.


          BUNKAI and the Novice

Perhaps this is as good a time as any to begin discussing the most important aspect of kata, its application potential.  I use the term Bunkai reservedly, as it really has no place in a discussion of Okinawa’s karate past. Karate developing in non-verbal traditions didn’t have a term for application such as Bunkai.

Bunkai was a Japanese concept/term which entered the picture sometime in the past 100 years.  But outside of sounding Oriental, it is a specialized Japanese term, that the average Japanese would not understand in a Martial context.  One Japanese teacher (of English) explained that the average Japanese would understand Bunkai as in you Bunkai’d your car (as in take apart). In one small sense you take a kata apart for its application potential, but in a larger sense you don’t take your kata apart to defend yourself. Instead you utilize concepts within kata in the defensive context.

When I began studies in the early 70’s there was no study of karate’s kata applications. Karate consisted of basics, kata, sparring drills and sparring (American tournament version). When I began to branch out and take advantage of other venues of training (believe me this is a long story that if I start will not stop for a long time) the other schools weren’t doing it either. Some systems taught ‘wazza’ or techniques and applied them to attacks (and rarely ones directly from kata).  And I’ve been led to understand in most cases in those days that was the same elsewhere, too.

Personally I began to realize kata had potential. When I tried expressing this to my instructors, it went nowhere (as they weren’t trained that way on Okinawa). Suffice it to say, ALL kata does have vast application potential. And differing instructors have many ways of addressing this (none,  millions, only pressure points strikes, or using kata as a mnemonic device to remember hundreds of techniques (most of which are not from kata, but rather a complex system of jutsu).

With a few exceptions, most of today’s work on application potential comes from the sweat equity of current instructors. No doubt many today do things with kata technique the Okinawan’s never dreamed of, but are still effective.  No doubt many do incredibly ineffective things with kata too.

I don’t doubt Okinawan instructors knew ways to use kata technique. They simply didn’t teach them (to beginners with a definition of beginners as 20,25 or even 30 year students). My instructors under Shimabuku Tatsuo didn’t study applications simply because they were incapable of getting that far into the study.  Preferring to use my instructors instructor, Shimabuku Tatsuo as a model, instead of applications to kata, when  a student became sufficiently advanced, instead he taught a series of maybe 45 techniques to cover the standard, logical attacks one might face.  Thus they would learn how to break a grab, counter a kick or an arm lock, etc.   This gave them a concrete answer for defense, and the depths of kata to guide further training.

For various reasons, today ‘bunkai’ is the in word in some circles. I hear of instructors teaching many, many Bunkai to their Kyu students and making them requirements for their belts.  I don’t say that can’t work, but as many students when shown exactly how to apply kata’s movement and faced with the force of an attacker in their face, will almost certainly do something else, on the spur of the moment.

Nobody wants a student not to survive an attack, and provided the student does so, the manner isn’t a main issue.

But I believe the older tradition is likely right. Wait until they have an advanced level of control and body shifting, and then worry about variant ways to stop an attacker.

I follow the same approach, and my students the entire path towards Sho-Dan (black belt) only are required for a small series of techniques to cover basic attacks. But for their Sho-Dan examination I want to see those techniques work for the student.  And part of them are 100% proscribed. The other part involves them studying a large number of grab counters, and being instantly able to be grabbed and mount an effective counter (not punching or kicking as they’re not the skills being developed) instantly.

On Picking Beginning KATA


Now this is a theoretical study. Most of us don’t choose our systems kata, we simply study what our instructors present.

Some use the Fukyugata, the Pinan, the Nihanchi kata as the building key. Others, such as Isshinryu begin with a kata such as Seisann. Whereas Seisan Kata is a most advanced kata in many Okinawan systems (abet in various versions) some feel it is a poor choice for beginners.

Balderdash. It is just a beginning moment, and in fact it matters not which kata you use. Isshinryu has been very competently using Seisan Kata for the past 50 years, and apparently there are very ancient Okinawan traditions using it as the first kata, too.

I taught as I was taught for years, and to youth back when everyone felt I was crazy for teaching kids. Yet, eventually I started the program with Fukyugata Sho and then Annaku kata. But you must understand I wasn’t changing Isshinryu (in fact I modified those kata to use Isshinryu’s striking, standing and movement), I was just holding the new student off of beginning it too early.

Where there were days when one kept students on the same material for years, times have changed. I refuse to equate change with things are being lost or going downhill.  My personal only goal is to try and develop stronger students than anybody (regardless of whether I’m successful or not, its my goal). By including the other kata, I was slowing down their time before beginning Seisan, allowing them stronger skills to do Seisan better.

I’m very comfortable with my decisions, but I’d also be as comfortable with not changing anything.

Remember something very important. The only real goal is at the end, not at the beginning. Yes, the stronger the beginning, the stronger at the end, but with skill and correct focus (see how this repeats itself) each way is correct. Rather than trying to find (or build) new kata, all are better served by learning how to teach their path better.

Changing the Novice Program


I note some schools tinker and modify their novice programs, Some occasionally, some frequently.

Frankly I went through that stage over 20 years ago. I had great faith in my Isshinryu, but working with youth for years, and training in a multitude of others systems for various periods of time, I began to wonder if I could use better additional training tools for my students Isshinryu.

I was on my own after ShoDan almost as much as Isshinryu’s original American pioneers. Yes, others existed, but through most of my karate career I’ve been alone, except for the support and distant (physical) friendship of my original instructors. All of the places I’ve been graciously allowed to train were quite welcome to allow me to study their art, but for my own there was no interest. That is as it should be, but it also leaves one without others to bounce ideas off of.

Finding incredibly great value from many of those instructors, and wishing to honor their sharing, I found compatible pieces of their training were useful for my students as additional exercises. None of which was meant to replace their Isshinryu. But some of those practices gave greater depth to my students, some of them allowed them to become viscerally aware of how others were training, both of which I found of value.

When confronted in moving to New Hampshire about 20 years ago, I was able to take that time to restructure my kyu program and formally include those practices with my base Isshinryu.

I never had any further reason to tinker with that system. It does exactly what I want, produce very good students.  As my Black Belt program developed, I was able to channel my creative energies into advanced studies, not other ways to do what we were already doing. Both of which continued fine.

Today in retrospect, knowing what I do now, I doubt I’d be inclined to change from my original program. Everything I sought out and studied I can show within Isshinryu as constituted in my teachings. But after raising several generations of Black Belts with my program, I also find no reason to change it again either.

Again why tinker with something which is working.

On the other hand, the additional material my students study is not presented as Isshinryu. It is always credited to the correct source system. Likewise, on occasion my students have had chance to study with those brilliant instructors who shared with me, and thus they know exactly what we’ve added as subsidiary training.

I should note, this topic directly relates to the topic on Picking Beginning Kata.

Changing the Novice Program II


At the same time, an instructor must be sensitive to the needs of the student population. Teaching in a rural community or a bed room community is quite different from an inner city location, as is training for the civilian population as opposed to a Police or Military group.

Where unanticipated violence can erupt anywhere, some locations or situations seriously require a different structure of training for the novice. This does not mean your core program would change, or that the length of time to enter advanced training changes, but that your focus in developing the student’s response for response to situations may be vastly different.  In some situations you may choose to focus directed to perceived student needs.




KATA and the Intermediate Student


I consider the intermediate student one who is between Brown Belt and 2 or so years into their Black Belt journey.  My students in this range of study are working on a few kata:

            Fukyugata Sho (Shorin Matsubayshi)
            Kyozau (Okinawa developed kata for gym classes)
            Annaku (Shorin Honda Katsu)
            Seisan  (Isshinryu)
            Saifa    (Goju)
            Seiunchin (Isshinryu)
            Nihanchi (Isshinryu)
            Wansu (Isshinryu)
            Chinto (Isshinryu)
            Kusanku (Isshinryu)
            Lung Le Kuen (Pai Lum)
            Nijushiho (Shotokan)
            SunNuSu (Isshinryu)
            Sanchin (Isshinryu)
            Either Bando’s ‘Hidden Stick’ or Bando’s ‘The Horsemans FootsoldiersForm’ <staff>

For Sho-Dan I’m only looking for excellent performance through Seiunchin, and very high level for the rest.  Progressing into the intermediate level I’m working on smaller detail in their form execution, guiding them for greater body control.

I very much want each intermediate student to find their own path of execution. Each body works slightly different and making each movement become alive demands those differences be addressed.

I have exposed these students to hundreds of techniques, but not as mandatory studies, rather as supplemental look-at’s for the day.  I’m uninterested in their remembering the totality, but to get a underlying structure of Kata’s potential.

Rather than beginning formal study of Kata Application, they’re improving the basic self defense skills they’ve been taught.  My understanding the reality of defense is simply you have to make something work. If you have one technique that your power and appropriate application of will drop any attacker, you’re not two times a effective if you have two techniques. Believe in a technique, knowledge how to apply it, etc. are the goals.

Where the basic study of those techniques is against formal attacks (the one’s critics of karate are so fond of as referring to as unrealistic), which are meant as training tools.  Most of the time they’re working directly into an attack. Realistically I can teach far more effective ways to use that motion. But the basic training is developing movement and timing skills. As long as the student understands what they’re doing the technique to build, and have a glimpse of the next layers, there is nothing wrong with using such a formal tool.

The intermediate student is where things begin to get interesting. They are discovering their power and speed. Their focus must be guided to keep them from becoming dangerous until all reaches balance. The continued in-depth study of kata motion is a powerful tool in this use.

Of course at some time other players have to enter. The attacks have to become more random, and the responses (controlled within the prescribed range of technique), are to be worked to find the best avenue of execution.

Where most of the technique training has been on the percussive aspects (punching and kicking), and on countering grabs, it is at this stage I begin the groundwork for advanced kata study. Even without in-depth study, Kata containing a great many grappling and takedown applications. I choose to prepare them for this with the inclusion of a series of aikido counters to punches. Of course the punching attack is very formal, but it provides good timing for anti-grab defenses, which I consider most of these techniques anyways.

But they also lay a foundation of controlling the attacker that finds its way into advanced kata studies.
Where I could show them how all of these techniques can be found in part (greater or lesser) in their kata, I don’t worry them about that. I’m much more interested in technique execution and movement flow.

Perhaps to some this doesn’t sound like kata, but I find all of this ties together, and kata remains the underlying structure.

The intermediate student (under Black Belt) also begins 2 person kata, but as an advanced study, or rather a touch of the advanced dan practices. I have various practices doing Fukyugata Sho, Seiunchin, Wansu, and Chinto with one or several partners. This involves individuals who have a very high level of technique execution, and they’re now doing the partner kata to train other senses, the eyes, the ears, and even touch on occasion. Trying to stay in perfect synchronization with another builds greater skill than just kata performance. That same awareness is most useful in stress. Then when they get it turn up the heat and increase their speed, not allowing one iota of change or difference between their timing execution.

These partner practices may involve moving side by side, or by facing each other and executing the kata across each other. This is one area where words do not suffice alone. But:

        In Fukyugata Sho, they begin with facing each other with right shoulders aligned.
In Seiunchin they begin side by side.
In Wansu they begin directly in front of each other,
and in Chinto they begin facing each other with left shoulders aligned.

It is at intermediate level (post Black Belt) that I begin to demonstrate the relationship between kata execution and power, in a manner which leaves the student understand why their training has followed the course it has, and why they MUST continue in that vein. This involves non-verbal communication and while I can write down words, they are meaningless without the experience. But once the students experiences this, they begin the transition away from intermediate training. Thus it becomes a concrete stage to prepare for.

Hence kata study enters a newer stage, a provable manner of increasing technique execution. This is the primary key in understanding the use or application of kata.

[In this area, I will not comment further. These practices were passed to me approximately 15 years into my Tai Chi training and I guess I had progressed enough to see their usage. There’s nothing mystical, and all of this is readily demonstrable to my students at the correct stage, and likely just a different way to express what others do elsewhere. But I had to work to achieve the little I possess, and there are some aspects of training which are reserved to my students.]

The intermediate post-Black Belt students continues to study several other kata, but for those first two years they’re more concentrating on the depth of study they posses already.


Advanced KATA Studies

Frankly were now at the stage where true study of kata’s potential begins. The student has developed fine movement skills, begun to learn how to focus a technique correctly, and has a serious set of tools to use in defensive positions. Here the cornucopia pours forth.

Where the student previously has honed their abilities to deliver a series of techniques, at this point they’re beginning to obtain depth in their knowledge.  By increasing their potential response, they begin to approach the ability to make it impossible for anyone to anticipate their response, as they are gaining a very wide range of tools with which to work.

Skill development must continue, power and energy flow must be refined, knowledge must begin to grow exponentially.

The refinement of physical performance and energy development makes an in-depth study of kata’s application potential more reasonable. 

The Core Practices

At the core of Advanced Kata study lies the application potential of kata, the heart of Karate.  Of course this is based on my rule of thumb, if you’re practicing a movement and you can’t drop somebody with it, why are you doing it?

I refrain from using the popular term Bunkai, which is a specialized use in Japanese, not a general public term. In current Japanese, Bunkai is used more frequently in, I take a car apart, not its martial application as it has grown.  Nor was the term Bunkai used in most Okinawan karate, it is a later day transplant from Japan to Okinawa.

But a movement has a potential.  First would be that explanation given to a new student of a kata, that helps them with the spatial relationship of technique execution. At the same time those are still real techniques, but frequently their optimal usage comes from acquired skill, to enter an attack at the correct angle to obtain maximum efficiency.

Thus advancing is becoming more focused on the difference between technique and that of skill, and how to work to acquire the skill to ‘sell’ the technique.   This is frequently the problem with simply ramming applications down a student’s throat, and not addressing the skill involved in their usage.

The applications of many techniques appear endless.  How to address the infinite potential of karate and not devolve into change without root is where the challenge comes in.

It is very difficult to know what was done in the past. Literature tends to suggest applications were not taught openly or for less than very long term students. Funakoshi Ginchin’s efforts in transplanting Okinowan Karate to Japan did not include the application of technique as we’re discussing.  On the other hand, I have testimony of others who’ve trained in Okinawa where the study of kata application was always present, as well as testimony of those who said it wasn’t.

Drawing on my own traditions my original instructors did not teach the study of applications. On the other hand one of my instructors friends, Sheman Harrill, from the same training, virtually works on the most extreme depths of application analysis, leaving me fully capable of living in both worlds.

Other friends I’ve trained with have systems with incredibly large study of technique. All of which is taught in a proscribed order and the student doesn’t worry about thinking of new techniques and applications, instead concentrating on learning them correctly both in form, and applied applications. One is in the Northern Eagle Claw tradition, the other in a combined Shotokan,Aikido and Tjimande tradition.

So walking the fine line of trying to draw inspiration from all of these traditions, and always trying to remain true to the perception of Okinawa’s karate origins, is the mission we undertake..

What I see are a number of different layers of study, and the rest of this presentation will address these objects:

1.      Initial training of the Advanced Karateka
2.      Further training of the Advanced Karateka
3.      The role of the Senior Karateka/Researcher
4.      The role of the instructor
5.      The art of Kata’s application analysis beyond technique






Initial training of the Advanced Karateka

There are a wide variety of practices utilizing kata to push the advanced karateka.

Among which are (in no particular order):

1.      The study of body alignment. Taken from my tai chi training, there are a number of different techniques of visualization to increase one’s power , one’s force generated.

The one techniques involves exterior focus, bringing a series of energy points in alignment in every technique execution.  Incorrect alignment vastly diminishes ones power. Even having your eyes focus other than the correct direction will weaken the response. 

Using this approach the instructor, via hands on touch, explores correct and incorrect body alignment in technique execution. Once the student feels the difference, steps are gradually undertaken to refine the incorrect alignment and gradually greater power results.

Another technique is to focus internally, on the natural bow’s of the body. Normally thought of as the bow of the back, the shoulder/arms, the legs, the chest, and even the hands, this is, IMO, another method to accomplish the same feat of the first technique.

I often utilize Fukyugata Sho, one of the simplest of kata, as the device to focus on such techniques. The practice of cleaning the Fukyugata Sho technique to the greatest extent possible, and then allowing the student to migrate this work into their other kata practices.

This has several other aspects.  When working kata applications, correct alignment does more than increase power, it can be used to neutralize locks or strikes being done against oneself (in-conjunction with knee release techniques). Likewise this principle vastly increases the power being generated in locks and throws,
too.

2.      Exploration of the speed of kata execution
3.      Focusing on the role of the knee release in body dynamics
4.      The study of application potential
5.      Two Person Practice


1.      Variety of practices.
a.       Two Person Practice
 i. advanced Two person Practice
b.      Controlling the body
                                                                          i.      Bow’s and alignment
                                                                        ii.      Stance and movement
                                                                      iii.      Keeping both hands (and other extremities) alive
c.       The Study of Application Potential
d.      Methods of transmission
                                                                          i.      Very very slowly
                                                                        ii.      Medium speed
                                                                      iii.      Fast speed
                                                                      iv.      Small Focus
                                                                        v.      Large to Small Focus
Kata with ½ stepping, advancing/retreating


Further training of the Advanced Karateka


2.      Special practices
a.       Multiple Striking (and Sho)
b.      Layered Striking
c.       5-count striking
d.      JingDo Striking
e.       Nihanchi and turns
f.       Nihanchi and jump spinning crescent kicks
g.      Nihanchi under 10 seconds


The role of the Senior Karateka/Researcher




The role of the instructor

3.      When should kata change
a.       My Kyu Program (constant)
b.      When I have a great idea..
                                                                          i.      First master it,
                                                                        ii.      Then practice it and think on it more

Then after say 15 or 20 years go ahead and make the change


The art of Kata’s application analysis beyond technique



4.      How kata techniques are meant to work – blindingly fast on the inside with the attacker closing. So fast you’re done before you begin or know you did…..


Applications Analysis &#8211; Advanced

Taking a Movement Technique from A Kata
    [Variable definition of what a movement technique may be]

  As in the opening of Seisan Kata, normally portrayed as the left foot stepping out with a left side block, followed by a right revese punch,

the movement may be defined from the following:

a.             the crossing of the hands before movement begins
b.             the left foot stepping out with a left block/strike
c.             as the right hand retracts to chamber
d.             the following right front punch
e.              as the left hand retracts to chamber
f.             the right foot stepping

the definition of analysis may be a,ab,abc,abcd,abcde,abcdef,b,bc,bcd,bcde,bcdef,c,cd,cde,cdef,d,de,def,e,ef,f

All without adding another technique.

1.View the multitude of angles of entry against a variety of attacks.

       r.grab, l.grab, dbl.grab, r.punch  l.punch, dbl.punch, r.kick, l.kick

000
020
045
060
090
        degrees

2. The technique may be applied as:
                a.a single strike
                b.multiple strikes within the over all movement

3.Then apply the techniques against different sized attackers
                a.Larger
                b.Same Sized
                c.Smaller

4.Then  vary the nature of the attack
                a.Programmed
                b.Random

5. 






x
Notes:

5.      Modern need for instant gratification: such as if Bunkai exists, then I have to have my kyu’s studying kata Bunkai.
6.      Impetus of actual combat
a.       Military
b.      Police
c.       Dangerous Local Circumstances
d.       

7.      Variety of practices.
a.       Two Person Practice
 i. advanced Two person Practice
b.      Controlling the body
                                                                          i.      Bow’s and alignment
                                                                        ii.      Stance and movement
                                                                      iii.      Keeping both hands (and other extremities) alive
c.       The Study of Application Potential
d.      Methods of transmission
                                                                          i.      Very very slowly
                                                                        ii.      Medium speed
                                                                      iii.      Fast speed
                                                                      iv.      Small Focus
                                                                        v.      Large to Small Focus
e.       Kata with ½ stepping, advancing/retreating

8.      When should kata change
a.       My Kyu Program

b.      When I have a great idea..
                                                                          i.      First master it,
                                                                        ii.      Then practice it and think on it more
                                                                      iii.      Then after say 15 or 20 years go ahead and make the change

9.      How kata techniques are meant to work – blindingly fast on the inside with the attacker closing. So fast you’re done before you begin or know you did…..

10.  Special practices
a.       Multiple Striking (and Sho)
b.      Layered Striking
c.       5-count striking
d.      JingDo Striking
e.       Nihanchi and turns
f.       Nihanchi and jump spinning crescent kicks
g.      Nihanchi under 10 seconds
11.  So you don’t have an instructor (no tears from me)
12.   






 APPENDIX

Self-Defense Techniques of Shaolin Red Fist (Part II) by Gene Ching (Xing Long).
Kung Fu magazine 2002 April, page 108-109

 Form vs. Function

When form and application is placed side by side, we clearly see how the fighting applications differ from the form. In combat, the stances are not nearly as wide as in the form, and  the hand positions vary. Even so the spirit of the movement is the same. This is the secret to unlocking forms – they are not to be taken literally. Forms are like sutra’s teaching the way of right action. Application is the action. Knowing the right action and doing the right action is connected, yet not the same.  Consequently practical teachings must be malleable, subject to individual interpretation, to fit any situation.

On a deeper level, forms practice serves a higher purpose beyond just self defense. While on the outside forms teach you how to fight, on the inside forms teach you how to harness your vital essence, your qi. Qi ‘by nature, is very difficult to explain how this process works. This requires some faith.
….
You cannot begin to penetrate Shaolin kungfu without awareness of fighting applications.  Even if you are practicing for qi cultivation alone, sine Saholin is a martial art, its qi always reflects combat applications.  Therefore, knowing the fighting methods is critical to understanding where to channel your qi.

                                   Façade vs. Fighting

Interpreting forms into fighting hits even greater challenges with “hidden” movements. Occasionally, kung fu will hide its techniques within the forms. In this way, certain techniques could be kept secret from prying eyes, …  Although external position is changed, the hidden intention is preserved within the mind of the practitioner. 

A basis example is the palm strike. In forms, the heel of the palm is external focus point.  The fingertips are pulled back, creating a powerful isometric in the forearm that presses power deeper into the palms. But in application, the focal point can shift from a palm push to the collar-bone into a finger jab to the throat.


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